This lesson explores all of the standard areas of phrasing lead guitar melody. The examples work to help the guitar player develop better control over building melodic passages. Each of the exercises will take a small section of the basic scale pattern and break it down showing how to add more vitality to the part...

PART ONE: In example one, the approach works toward spicing up the phrasing of simple scale lines. A simple scale passage from the key of "F# Minor," is established in example 1a. Then, some basic phrasing is applied to the part in example 1b. The phrasing devices used include; 16th-note and triplet based rhythm, along with slides, hammer-ons and pull-offs.

Example two focuses on expanding the principles covered in example one, with further focus placed upon rhythms. The key of "C# Minor" scale passage shown in example 2a, is a basic layout of tones performed in strict 8th-note feel. In example 2b, the phrase takes on new life with greater rhythmic phrasing, (including a grace-note idea alongside slight syncopation with the loss of beats one and three in measure two). Phrasing devices include; slides, hammer-ons and pull-offs.

PART TWO: In example three, our purpose is to dress up the phrasing of a melody using harmony as well as, simple syncopation. A melodic statement in example 3a, demonstrates a common sounding descending linear idea in the key of "G Major."

In example
3b, the melody is expanded to include a series of 3-note triads that
appear upon the attack of each chord. An expanded rhythmic feel is
generated through the use of 16th-note feel and 16th-note triplets.
Pull-offs and hammer-ons are also added to enhance articulation of
the rhythmic changes..

Example four works to exaggerate the phrasing of a speedy 16th-note based line shown in example 4a. This key of "E Minor," scale run is composed entirely of 16th-notes and quickly runs across the notes of the "E Minor" scale (Pattern #2 and Pattern #1).

The busy passage is modified in example 4b, by adding some 3-note triads, slides, hammer-ons and most importantly a few changes to the rhythmic structure. The steady stream of 16th-notes from 4a, gets broken up in example 4b using 16th-rests along with slight syncopation. The beats of two and four are both lost in each measure. This is an excellent example of how a straight forward 16th-note passage can take on new life through modifications to the rhythmic phrasing.